I got a new sewing machine for Christmas…surprise!! How did he know…it could have been the complaining…or it could have been that we stopped at the Vancouver Pfaff dealer (together) to look at machines that could make buttonholes consistently and quickly.  I guess those were strong enough hints because  the machine is now mine and I absolutely love it!  In my last post I talked a lot about the buttonholes…the ones I made with my old Singer attachment weren’t horrible, but they were never great.  There was always a  couple of days of planning and positive thoughts and meditation required to prepare for the event and the results were not guaranteed to be better than about 50/50.   This new machine makes buttonholes almost perfectly on its own and with just a bit of practise I think they can be absolutely perfect every time.

I have never been a fan of overly technical machines.  I didn’t really want a new computer I just wanted a simple mechanical sewing machine – like my old one only better – and that could make reliably consistent buttonholes in varying types of fabric.  When I saw the buttonholes made by this Pfaff Expression 3.5, I was hooked. After all, I reasoned, computers would not be so popular if we aren’t meant to use them.  The precision with which I could make adjustments is what really sold me.  The ability to adjust the needle position left or right in fractions of millimetres means a fairly simple task, like installing an invisible zipper, becomes even easier, even faster and almost impossible to mess up.

This machine has 204 pre-programmed stitches…not sure I needed all of those, that but they are there if I want to use them.  I used one of the cross stitch settings to jazz up these guest room sheets.  That was kind of fun…but it will take some more practise.  I seem to have stretched the pattern in some places and I’m not exactly sure why yet.   I let the bobbin run out of thread on the top sheet and although I know in principle that I should be able to start at exactly the same place as I stopped, it didn’t work perfectly. I still have a few things to learn here.

The key feature for me is the electronic Sensormatic button hole foot.  The foot plugs into the machine, in a bit of an awkward spot, but once its plugged in and the settings are tweaked, it makes beautiful oval, keyhole and bar tacked buttonholes over and over.  This shirtdress has 14 buttonholes and they were done in under 20 minutes.  They were completed without a hitch, and they are all exactly the same.  This fabric is a little bit heavy so I opted not to interface it.  I’m not sure if the tacks at the ends would have pinched if I had interfaced – but I guess that is the value of testing things out…

I have a bunch of ideas so hopefully my posts will be more regular and frequent from now on.  No excuses!

 

 

As most of my ideas for fashion start with footwear, this fabric, which I bought because I thought it would go well with the boots, was no exception.  I like the mildly monochromatic look and I also don’t have to think too hard about what goes with what.  Dresses are great for simplifying the process of getting dressed.

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When I bought the fabric it was an end of the bolt piece and it included a small flaw.  The dress is the Danni Dolman pattern from Style Arc  which has been modified to suit the amount of fabric I had available to use.  The pattern has asymmetrical folds at the hip – a feature requires the front (which is cut from a single layer of fabric) veer off the straight grain in the lower half and use a lot more fabric in order to add the fabric required for the folds.  In order to eliminate the folds, and reduce the amount of fabric required, simply find the centre front (purple line below) and trace a new pattern piece with the centre front being the fold line and then cut the piece on the fold.  danni-dolman-resized

sleeve-pattern-022-resizedThe Pattern design has the sleeves cut in one piece with the front and back of the dress (also requiring a larger piece of fabric).  To accommodate my limited amount of fabric, I shortened the sleeves by about 9 inches (shown above).  I didn’t actually cut my pattern.  I traced new pieces marking the length up the seam starting from the hem edge, and then overlapping the centre (top) seam and cutting the lower section as one piece with a seam on the underside of the arm only.

 

sleeve-020-resizedThe pattern differs slightly from the illustration in that the sleeves are drafted at 3/4 length, not full length as shown in the illustration.  When the length is reduced by 9 inches the seam created by reattaching the bottom section, which will be cut separately, will fall about mid-bicep.

For me, knits always need lining of some sort.  I had a length of power mesh in my stash so I decided to use that as a lining.  It was tempting to see if I could harness the power of the power mesh for its smoothing capabilities, but out of concern for about the potential of the lining to ride up constantly, I decided against that and just made it the same size as the body of the dress.  It feels fabulous, although I don’t think it’s pretty to look at.  I prefer using beautiful fabrics like silk charmeuse for linings and taking time to finish them like lingerie.  The armscyes of this lining are unfinished because I was concerned that added lace might make an imprint on the outside, but I think I still might finish the arm edges just to see if it works…I can always take it off if it shows through…

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This project followed the coat in the previous post.  I like following a challenging and time consuming project with something really quick and easy, and this definitely fills that requirement.  I love the dress style, particularly the neckline and sleeves.  I will make the next version including the side folds and I will be making the sleeves extra long.  I was also thinking of adding a cowl neck collar – but I’m not sure about that yet.  This is such a versatile and well drafted pattern and I can see so many possibilities for it.

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I’m not sure when patterns become vintage but this classic style must be close.  I first made it for my daughter about 18 or 20 years ago.  I think she liked it but I have to admit that at the time I didn’t love it.  The style was/is great, but I wasn’t totally happy with my execution.  Anyway, this is a chance to make some of that right.

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The only alterations I made were to shorten the length by about 3 inches before cutting the fabric.  It was still long enough to be almost ankle length on my 5’3″ self, so I cut another 3″ off when I hemmed it and still had room for a 2 1/2″ hem.  I made the pocket flaps about an inch longer than the pattern, eliminated the back belt and made the buttons on the sleeves operational by adding buttonholes. a note on the pocket flaps – I used a lightweight sew in interfacing and should have used a heavier iron on interfacing which would have prevented the pocket welts from imprinting quite so much and would have made them a bit stiffer.  Since the pattern just had sew on buttons and no working sleeve vent I added 1.5 inch extensions (should have been 2 inch) to the lower back sleeve seams to create the vent.

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My interfacing plan is as follows:

Hair canvas on the entire front, and the upper back/shoulder area.

Underlined the entire back with lightweight poly cotton.

Interfaced the sleeve hems with weft insertion iron on interfacing.

All facings and the sleeve caps were interfaced with iron on knit interfacing.

Lightweight woven tape was used on the lapel roll line and the front edge to keep it from stretching in use.

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In order to eliminate bulk when interfacing with a heavy sew-in interfacing like hair canvas,  I cut the seam allowance off the interfacing and add an extension of something very lightweight (in this case silk organza) to catch in the seam. That eliminates a lot of bulk from the seam.  An easy way to maintain the exact shape of the interfacing, is to cut out the interfacing to the actual pattern, then lay a 1 inch strip of organza at the edge and stitch it 3/4 of an inch from the edge.  Then when you trim the interfacing off close to the stitching line you won’t have canvas in the seam allowance and the interfacing piece still has exactly the same shape that you started with.

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I’m happy with the collar.  I pad stitched the lapels and the collar, but completely forgot to take pictures.  I decided not to top stitch for now, but I might still do it later.  One of the problems is that I like to use silk topstitching thread, which is difficult to source.  I suspect I will have to resort to ordering online.

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This green outer fabric is a lofty 100% wool coating material and the lining is a lightweight, opaque 100% silk twill.  I bought both at Britex during a recent trip through San Francisco.  The buttons are hand cast pewter from Button Button on Homer St. here in Vancouver, and the flat piping on the facing/lining seam is from a necktie….ties are one thing that should never be thrown away.

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A silk necktie will give up at least 2 yards of 1 3/4 inch bias binding…the fabric is always beautiful and best part is that it is already cut on the bias!flat-piping-020-resized

This was a very challenging project. The fabric is heavy, it releases buckets of lint, the seams are long, pressing is arduous, there is lots of hand sewing AND the success of the entire project comes down to the buttonholes, which are always the last thing and which in this case, I’m not 100% happy with…but I’m pretty happy with everything else.

This is the second time I have made this coat.  The pattern was first printed in 2004 but it’s so simple I don’t think it can be attached to any decade.

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This fabric is a piece that I bought on line from Emma One Sock. As is commonly the case with my random purchases, I didn’t really have enough fabric once I decided what to make. I had to supplement my 78 inches of flowered fabric with another length of black, cotton lycra blend, which I used for the front facing, the under collar, and sleeve facings.

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This fabric isn’t one that I would normally buy.  It’s a poly cotton blend, and being something of a fabric snob, I usually ignore anything with polyester in it.  But, in this case I loved the print and the texture, so I went for it!  That’s me living on the edge… Using polyester fabrics for garments that will have some tailored components – in this case the sleeves – is sometimes a poor choice because it’s tough to get a good result.  Tailoring relies heavily on  being able to shrink the fibres into place.  In this case, although the fabric doesn’t shrink at all, the unique weave made it flexible enough to ease the sleeve cap.

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The fabric feels like a jacquard weave.  It’s quite crisp but still flexible.  I underlined the whole body of the coat with a lightweight sew-in polyester cotton interfacing. I used a slightly heavier interfacing for the centre front piece, but now that coat is done, I think I would have been more satisfied if the front was a bit crisper.  If I knew then what I know now…I would have used hair canvas in the front, or as I did with the collar, I could have used fusible Presto Sheer for the facing…I think hair canvas would be the best and perhaps a lighter weight fusible knits on the facing..

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I wanted this to be a lightweight coat for Vancouver’s coolish fall and spring weather.  The underlining supports the fabric and adds a bit of warmth.  To make it even warmer I used Kasha, a flannel backed acetate-cotton blend, to line the body and a lighter weight Bemberg lining for the sleeves.fabric-020-resized

The sleeves are hemmed about 1/2 longer than normal and I added a small extension (about 3/4 inch) to the back seam.  The sleeve facing is cut exactly the same as the sleeve and about 8 inches high.  I left a 3 1/2 inch opening in the back seam so the facing could show a bit.

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I added a shoulder interfacing of hair canvas and a chest piece to support the shoulders. The under collar is interfaced with Presto Sheer cut on the bias and the upper collar is interfaced with a fusible knit.  I used shoulder pads that have been in the “stash” for years.  They were 5/8 inch pads which were too thick, but removing one of the foam layers got them down to just under 1/2 inch.

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These very interesting buttons are from a Vancouver store called Button Button. It’s a tiny place on Homer Street, and it’s a treasure box of every button anyone would ever want!  I think these look sort of Victorian, which is about as close as I am going to get to the Renaissance Woman trend.  I’m not happy with the buttonholes and I’m going to hand stitch over them with buttonhole thread.  I haven’t done that before so when I finish, I’ll post a tutorial to show the result.

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I am quite happy with this coat.  It’s not one that I would wear every day, but certainly good to have for a change.

Materials for this project:

Flowered Fabric:  78 inch length of 60 inch wide polyester cotton

Contrast Facing: 40 inch length of 54 inch wide cotton lycra twill

Topstitching: Heavy topstitching thread by Gutermann and size 12 Topstitching needle- a good tip is to always use a topstitching needle which will reduce skipped stitches and other irritating problems.

Lining: 1.25 yards Kasha flannel backed acetate for the body, and 1/2 yard Bemberg for the sleeves

 

 

 

 

 

One of the big benefits of sewing my own stuff is that I can have more of what I like and less of what I don’t like. Right now the top of the like list is occupied by anything made out of silk. Silk comes in a number of weaves, but my favourites are silk charmeuse, chiffon, four ply silk crepe, and of course crepe de chine. These two tops are made from silk charmeuse which has a matte side and a shiny satin side.  I always prewash (in the washer) and dry this fabric (in the dryer) before sewing it.   I usually use patterns with little or no interfacing, and a fairly flat construction.

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Burda Style Magazine 02-2008-#119

 

This line drawing is scanned from the February 2008 Burda Style magazine, because the pattern is no longer available online.  You can see how the original pattern was intended to be used.

 

 

 

 

 

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This pink plaid version is closer to the standard pattern than the solid pink version below.  I bought the fabric from Emma One Sock a couple of years ago.  In my mind it has been a tailored shirt, lining for an as yet unfinished (actually unstarted) skirt (maybe a pant) suit, a floaty wrap dress, and a blouse-matching-a-lining for a Chanel style suit.  I live a well dressed imaginary life!

Simple Bias Binding Technique

In the original pattern a fabric tube is constructed at the front of the scarf so the tail can be threaded through.  The scarf is attached around from the back and hangs down the front.  I didn’t like the idea of leaving the unattached part at the side and I wanted more room in the neckline since the top is a pull-over.  I added buttons and loops at the shoulder seam and rather than a fabric tube on the front of the scarf, I added a loop to the back.

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I thought the whole assembly would just be a little less bulky that way….oh…and the scarf is just a single width, folded over, rather than the double width as proposed on the pattern instructions (those are just guidelines).

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The plaid version is quite a bit longer than this pink one.  I wanted to tuck it in and didn’t want to constantly struggle with it to keep it tucked in.

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The pink shirt is the same body pattern without the scarf and with a bound slit in the front.  The drawstring provides the shaping for the neckline and there is a bonus to the fact that it is adjustable.

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For both of these versions I used a method of finishing the armhole that I think provides a reliably good result.  If it is always pressed from the inside of the blouse, it is barely visible on the outside.  The full technique is shown here.

I’m going to do a few more of these.

 

 

 

 

 

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This little brass plaque has been on our bookshelves since my oldest son, one of the boat owners and the main maintenance guy, was a child.  I guess it didn’t cause him much concern because this is his second adventure into boat responsibilities.  The new boat is a 1974 Albin 25 that has not had much in the way of TLC for the last 20 years of its life, but it’s a good safe vessel for my son and his family to use for holidays and trips to their family cabin at a boat access only beach. Since diesel mechanic isn’t in my particular skill set, the only real help I can provide is to sew stuff.  I offered to help replace anything covered in fabric and this is my first attempt at seat cushions for a boat.  I’m sure I’ll get to do more of them. There are still two sleeping areas that require attention!

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We started with 3 inch high density upholstery foam that makes a nice solid seat that doesn’t “bottom out”. The foam is covered with a 3/8″ polyester fibrefill quilt batting, which is then covered by an under-cover.  For the under-cover, I used athletic mesh knit like this one.  The final step is the decorative cushion cover.  In this case we didn’t want vinyl so we chose a medium weight, light blue outdoor fabric by Sunbrella ordered online from JT’s Outdoor Fabrics .   This particular cushion needed to be a weird shape, but foam is easy to cut with an electric carving knife (available on Amazon for about $20).

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Once the foam was cut to the size we needed, I made the pattern for the under cover.  Medical exam table paper is perfect for quick disposable (or not) patterns.

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Place the paper over the foam and pinch the edges to make a fold line.  It will be somewhat uneven but a straightedge and french curve are all you need to straighten out the pattern.

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I try to keep the stitching lines just inside the edges of the foam so the fit would be quite tight. The under cover serves a purely utilitarian purpose. It holds the batting in place and makes it easier to remove the decorative cover for cleaning without tearing the batting.

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After the pattern is drafted, add a 1/2″ seam allowance, cut out the pattern and check the fit one more time.  For the edges, I cut a strip 3 7/8″ wide and long enough to go around the perimeter of the fabric with a couple of inches of overlap.

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Once the pattern is made I covered the foam  with a 3/8 ” polyester fibrefill quilt batting, using spray adhesive like this one to hold it in place.  The batting is easy to cut with scissors.  Every sofa, chair or other upholstered thing I have seen has had the foam component covered in fibrefill so I just did that here without really thinking about why.  I believe it makes the surfaces smoother and generally softens the corners and contours.

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After covering the foam with the quilt batting, sew and install the the under-cover.  The under-cover is definitely necessary if the decorative cover is ever going to be removed for cleaning. I think the athletic mesh fabric serves this purpose beautifully.  It’s cheap, stable with equal crosswise and lengthwise stretch, and almost indestructible.  I got the fabric at Dressew for $4 per meter, but it is widely available and never seems to cost much. With a 1/2 inch seam allowance, the edge will  finish at 2 7/8″ and will stretch to fit snugly over the batt covered cushion.  I closed the opening with hand sewn stitches, since this cover will not need to be removed.

Finishing the cushions2-resized Finishing the cushions3-resized

 

The first step in making the decorative cover is to make a new pattern based on the cushion form with the undercover in place.  I followed the same steps as when making the first pattern based on the foam.  I felt a new pattern would be more accurate and it doesn’t take much time.  For the edge strip which connects the top and bottom, cut a 3 7/8″ straight strip a couple of inches longer than is required to go around the perimeter of the cushion top and bottom leaving an opening across the back for the zipper strip.  When attached to the top and bottom with a 1/2 inch seam there will be 2 7/8″ between the seams.  That will be reduced to about 2 3/4″ on the right side edge once everything is turned and top-stitched.  The reduction from 2 7/8″ between the seams to 2 3/4″ on the right side is the result of what is called the turn of the cloth.  When the 3 inch foam is inserted the compression of the foam (3 inches down to 2 3/4 inches) keeps enough tension on the fabric to keep it all flat and parallel, and the edges and corners round nicely.  Pin and sew the edge strip to the top and bottom. There will be a large opening at the back where the zipper is to be installed.

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I used separating zippers with large plastic coils, again purchased at Dressew, that were slightly longer than the back length of each cushion. The zipper strip is made by sewing a piece of fabric to each side of the zipper tape, right sides together.  Then fold back the fabric strips, exposing the zipper coils and topstitch in place. It works best to start with cloth pieces that are wider and longer than the finished width and length by about 2 inches.  After the zipper was sewn into the cloth strips, I recut the width and the length to get perfectly straight edges and the exact width that you need.  The zipper strip should be the same width as the edge strip and it should be a couple of inches longer on each end so the zipper tucks under the finished edges of the edge strip as shown below.

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Once the edge strip and zipper strips are sewn in place I serged everything together.  Sunbrella fabric frays easily so serging gets that under control.  For people who don’t have a serger, pinking the edges will also alleviate the fray problem.

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Anyway, I am happy with the result.  Two of these cushion covers have already been removed and washed, and they are indistinguishable from the one that was just completed.

 

Materials for this project:

4 meters medium weight Sunbrella fabric in Saphire Blue purchased from JT’s Outdoor Fabrics

4 meters athletic mesh fabric

Two 32″ and one 34″ zipper purchased from Dressew in Vancouver, but also available at JT’s

Polyester rot-proof upholstery weight thread by Gutermann

One queen size polyester fibrefill quilt batt.

3 inch high density upholstery foam.  If the cushions are going to be in the rain and weather, then open cell outdoor foam might be a better choice.  Water will run right through it.  Upholstery foam could hold the water for a while.

Size 12(80) topstitch needles – the top stitch needle has a longer eye that definitely helps my machine handle the thicker fabric and thread- I had to change the needle once for this project…when the  needle becomes dull and used up the stitches become sloppy and loose.

I really like this pattern.   It’s from the October 2012 Burda Style magazine, but can be purchased on line here .  Sewing this pattern is as easy or as complicated as one wants to make it. My version is in between, which to me means that it is lined, but I used the serger a lot.  My big disappointment with this is that I traced the pattern in a hurry and didn’t pay attention to the sizing.  Burda magazine patterns are often sized 36 to whatever…this one was 34 to whatever and I did not adjust my thinking on which line to trace – resulting in one size too small.  There are other issues but that is the biggest one.

sewing room (2)

 

The pattern proposes cutting the front on the bias and the back cut on the straight grain.  In both versions I cut the front with the lower skirt section on the lengthwise straight grain of the fabric, which means the top travels off-grain to not quite a bias cut.  I like that about the  plaid version.  This fabric above is a cotton twill border print with some lycra which I bought at Fabricana in Coquitlam.  I pre-washed the fabric and lined it with a tricot knit so the dress could be washable.  I only paid about $40 for the fabric.  It would cost me that much again if I had to dry clean it!  The fabric below is a lightweight wool suiting.  Probably not washable…not that I wouldn’t try…

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I hemmed the skirt longer than the pattern recommended in both versions so I thought it looked proportionally better with short sleeves.  To make the sleeves I used the same pattern but cut them to finish about  an inch long at the underarm. Rather than cutting them straight across, I added a small curve of about 1/2 inch upward at the centre line.  For the border print version, the 1.3 meters of fabric that I had was only enough for short sleeves anyway.  The border print skirt is pegged at the hem by about an 1.25 inches on each side.  That necessitates a back vent, and as you can clearly see in the photo above, side vents  accommodate actual walking.

sewing room (3)

 

I lined the print version with a tricot knit. It is slippery and has the right amount of give for the pattern and for the fashion fabric. The plaid version is lined with Bemberg.  To make both linings, I cut the pieces from the dress pattern and then laid the facing pieces (with pinked edges) on top of the lining and straight-stitched them together. After joining the facing and lining I cut away the redundant lining. This a good method since it eliminates a bit of bulk at the lining/facing joining seam. If the lining has a right side and a wrong side, and if the waist-line gathers are left in place, the lining must be cut as a mirror image, or the right side of the lining will not show on the inside of the dress. If I make it again, I will take the time to draft a piece for the lining front that does not have the gathers at the waist.

sewing room (4)

I’m really annoyed with myself for cutting out the wrong size…who does that?  Even the plaid dress which is a size bigger has a small problem with horizontal lines on the top.  Next time I make this, (I have to get it right) I will sort out the bust size issue.  As for this print version, its only future is as a skirt!  I’ll put that in my next post.

 

Great spring look from Burda Style.

 

DIY ponte knit dress from Burda Style Magazine spring fashions
Burda Style Magazine 02-2012-117b

 

This dress is actually the prequel to the gray knit dress.  It’s the first version I made from a pattern that I traced from the Burda Style Magazine #02-2012-117B. The fabric is a ponte knit with some rayon.  It’s fairly firm and I loved the colour.

A great spring look for a knee length casual dress

I bought the fabric from Emma One Sock, on an end of the roll sale. Great deal, gorgeous colour and I should have been more careful and at least have done a muslin of the top before I cut out and stitched up the whole dress. The pattern has a lot of pieces and I had problems with the fit through the back. In order to remove the noticeable gape at the top back neckline I had to take the whole back in down to the hem. The result was that it was just too tight for me. I am well past the age when tight is cute…my daughter Jackie can easily pull that off so it’s now hers!

A fun bright colour for spring

I especially love the dress with this necklace.  Magda Molina designs some exceptional pieces which can be seen here.

Every now and again, it’s nice to make something that looks really good, is versatile and wearable, and takes very little time and effort.  The fabric is a 100% cashmere that I bought as a remnant.  It was a truly beautiful piece of light weight, warm, and soft, pure luxury…and this is just about the easiest thing I have ever made.

 

A stylish way to warm yourself on a cool day.

It’s a single piece of fabric folded in half lengthwise with one side seamed together on the crosswise grain.  I used the ladder side of the flatlock stitch showing on the outside in black thread. You can see the single seam on the left arm side in the photo above.  In this case I hemmed all the open edges, but I think it would work to fringe them too.

 

A warm gray poncho in woven cashmere for spring or fall.

 

The neck opening is as easy as cutting off the closed point created when you sew one side shut, and adding a binding for stability.  I like the straight neckline created by this technique, and I think it looks especially nice with these pretty earrings which can be seen in more detail here.

Warm cozy wrap for spring.

 

All the measurements and a more detailed explanation of construction are available on my Tips and Tricks Page here.

A DIY poncho in gray cashmere.

 

When I made this, I gave it to my daughter because I didn’t think I was a “poncho kind of person”.  Now that I look at the pictures I’m thinking maybe I could be…

 

 

This is an out of print Vogue Pattern (copyright 2004).  It’s a great basic, and as you will see from my embellishment “journey”, it’s easy to customise.

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I made this a couple of years ago, but wanted to write about it to discuss the notion of keeping the plan flexible.  I bought the fabric because I just can’t resist a deal.  I get so excited when I find a piece of fabric that costs a fraction of what it should, that my cheap gene goes into hyper-mode and I find myself calculating the amount of fabric I will need down to the linear inch…this could be a sign of a serious personality flaw. This fabric cost $10 per meter.  It would not have ruined my budget to buy an extra meter!  It’s a durable 100% wool with a woven-in ribbed design that I thought I could cut off-grain enough to create a chevron pattern at the seams.  I didn’t have a particular pattern in mind so it sat in the “”to be determined” pile for few more months, maybe even a couple of years. I finally chose Vogue 7978  because it has princess seams front and back and I thought I could create a subtle chevron that would have been stunning….but I didn’t buy enough fabric.

A classic coat with a personal surface design.

 

 

After hours of trying varying degrees of off-grain layouts, I had to accept that the chevron design was out of the question and so I laid it out on the straight grain.  Not so bad, I thought…the pattern in the fabric would have had kind of a 60′s / 70′s feeling.  “Product of West Germany” was woven into the selvedge, so it is conceivable that the fabric was in the shop since the 70′s. That should have been a hint of what was to come.  I finally cut out the pattern, sewed up the body and tried it on, pleased to see that it fit extra-ordinarily well on the first try!  Self satisfaction was short lived, however.  In the daylight a faint, but unmistakable faded line down the middle of the back revealed itself just where I placed that centre back piece on the fold.  I don’t know if this happens to other people but I know I should have thought of this ahead of time. What to do… I had some suede left over from a project completed years earlier.  It turned out to be a great contrast so I placed a long 1/2″ wide strip over the faded line and then just added more until I thought it was done.

 

A customised design for Vogue coat 7978

 

I think it turned out really well. I’d like to say that I have lots of surface design ideas and that all my projects look this good.  They don’t…but this one worked, and I think it’s the result of some luck and some stubbornness.  I didn’t want to see my $30 fabric deal end up in the trash.

A classic design enhanced with suede trim.